A visceral, boots-on-the-ground story of modern warfare and brotherhood, told like never before: in real time and based on the memory of the people who lived it. From A24 films & written and directed by Iraq War veteran Ray Mendoza and Alex Garland (Civil War, 28 Days Later), arriving one year after 2024’s Civil War, comes an immersive and electrifying new take on the war movie. Created from the memories of real-life Navy SEALs, including Mendoza himself, the film recounts a dangerous surveillance mission gone wrong in Ramadi, Iraq, in 2006. Featuring an ensemble cast of Hollywood’s most exciting up-and-coming talent, including Charles Melton, Will Poulter, D’Pharaoh Woon-A-Tai, Cosmo Jarvis, Joseph Quinn, and Kit Connor, Warfare takes place in real time, using extended takes, meticulously constructed sets, and unmatched realism to capture the fog and chaos of war, and the indelible brotherhood that develops in its wake. Co-director Mendoza, a combat veteran who worked with Garland to design the battle sequences in Civil War enlightens, “We made this film as a reminder to the people who make the decisions to go to war that there are people that will answer that call so that others don’t have to — and usually it’s the youth of America.” “Warfare breaks with convention and dispenses with romanticization in its depiction of war and what it feels like to be under fire,” says Will Poulter, who plays an Officer in Charge of the operation. “Playing out like a transcript from found footage, the movie gives people a more authentic understanding of being in a combat environment under intense pressure.” Breaking the formula of conventional war movies, Warfare pulls no punches in its frank and visceral depiction of young men under fire. “Reality doesn’t let people off the hook; when things are tough, there isn’t a dissolve or a cut or some music to cheer you up,” says Garland of his approach to making the movie. “You remain in that state until circumstances relieve you from pressure or the moment, and that’s what Warfare does — it adheres to reality, not the reassurances of cinema.”